It’s the time of the year again! One of the surprises that came out late is that there is actually a race. Not a twosome showdown like 2014’s Gravity vs. 12 Years a Slave, nor 2015’s duel of the B’s: Birdman vs. Boyhood. Guild, critic and press awards are building towards diversified winners but in fact, there is one clear Best Picture. I’ve been rallying for it ever since seeing it last May (and if you’re following my Twitter account, you’ve probably been exhausted reading about it unless you agree). Have I been correct on my Oscar predictions? Yes and no. Basically, this list wraps up who I think are deserving to win. Again, here’s wishing for 2017 to be a better Oscar year for the rightful films.
Best Sound Editing: Mad Max: Fury Road
Best Sound Mixing: If Mad Max: Fury Road‘s battle cry of the guitar-thrashing war boy doesn’t win an Oscar — not only was it bizarre; it was the perfect accompaniment for the craziest and electrifying cinematic car chase ever — then I don’t know anymore.
Best Makeup and Hairstyling: From Charlize Theron’s smoky and revering eyes to the grotesque villains led by Immortan Joe, every physical detail of the characters in Mad Max: Fury Road has a story to tell. And they are just simply one-of-a-kind.
Best Visual Effects: I’m glad to see Ex Machina be nominated along with the heavy-weights, but it wouldn’t likely win. The Revenant winning for that bear-maul scene is both a joke and a shocker while The Martian‘s VFX is no match against fellow sci-fi Gravity. Press for Mad Max: Fury Road had talked more about the crew’s resourcefulness and ingenuity than for visual effects. In the end, the technological update accomplished in Star Wars: The Force Awakens gets my vote.
Best Original Song: Probably “Til It Happens To You” by Diana Ross and Lady Gaga from the documentary, The Hunting Ground. “The Writings on the Wall” is a mediocre Bond theme (sorry, Sam Smith; it wasn’t a worthy follow-up to Adele’s Oscar-winning “Skyfall”). And it’s the year of the Gaga.
Best Original Score: John Williams’ iconic score for Star Wars is nominated, again. Perhaps the Academy should award someone else? How about The Hateful Eight? I heard it was good (but wasn’t able to see it yet).
Best Costume Design: Mad Max: Fury Road
Best Production Design: Mad Max: Fury Road (God was the production designer for The Revenant. Amen.)
Best Film Editing: The playfulness in The Big Short‘s story-telling is lend by its uncanny editing but the magic of this technical element is best displayed in Mad Max: Fury Road. The car chase throughout the film was never a bore; in fact, it’s the adrenaline-filled interplay of action, thrill and suspense that made me so alive.
Best Cinematography: While I had locked this category for Mad Max: Fury Road, Emmanuel Lubezki’s work in The Revenant was so admirable that he deserves a back-to-back-to-back Oscar. It’s probably the only legit part that I like about the film.
Best Documentary Feature: Amy
Best Foreign Language Film: Son of Saul (Hungary)
Best Animated Feature: Inside Out
Best Adapted Screenplay: If the Academy is daring enough, it’d pick Room which is my second choice. But it would probably go to WGA winner, The Big Short.
Best Original Screenplay: Nice to see Ex Machina and Inside Out land nominations but I’m all for Spotlight.
Best Supporting Actress: Isn’t it sweet to have Leo and Kate Winslet win in the same year? But I’m going for my girl Alicia Vikander in The Danish Girl.
Best Supporting Actor: Sylvester Stalone‘s return as Rocky Balboa in Creed could sway a sentimental vote. The neurologist-fund manager with an artificial eye and Asperger syndrome that Christian Bale becomes for The Big Short comes as second. I still wished Jacob Tremblay was nominated; he was the heart of Room.
Best Actress: Congratulations to one of the youngest Best Actress winners, Brie Larson for Room! The edginess and vulnerability she display creep under the skin that her portrayal of ‘Ma’ is unnerving to the point of frustration. But knowing what her character had gone through, she deserves it. (Still, my heart goes to Saoirse Ronan who tugged my heartstrings in Brooklyn).
Best Actor: He knows it. He can feel it. It’s a long time coming for Leonardo DiCaprio whose committed performance in The Revenant is… Okay, he deserves to win with respective to his fellow nominees but we can agree that this is not his best performance of his career. Right?
Best Director: All the way for George Miller who is the true visionary for Mad Max: Fury Road.
Best Picture: I can’t say which film had done this before but for the past years, the eventual Best Picture winner also won a Screenplay award. In that case, the Oscar odds are in favor of The Big Short and Spotlight. BUT a win for Alejandro Innaritu as Best Director (after receiving the DGA award) locks the plum prize for The Revenant which is not nominated in the Adapted Screenplay category (see the conundrum?). Nevertheless, as I stay true to which film should win, my Best Picture goes to 2015’s extraordinary masterpiece, Mad Max: Fury Road.
I’m more likely wrong on the supporting actor categories but I’m counting on Mad Max: Fury Road to earn the most number of Oscar wins while The Revenant to spoil the night😛